Die Farm der Besessenen

The Furies is directed by Anthony Mann and adapted to screenplay by Charles Schnee from the Niven Busch novel. It stars Barbara Stanwyck, Walter Huston, Wendell Corey, Judith Anderson and Gilbert Roland. Music is by Franz Waxman and cinematography by Victor Milner.

"This is a story of the 1870's. . .in the New Mexico territory. . .when men created kingdoms out of land and cattle. . .and ruled their empires like feudal lords. Such a man was T.C. Jeffords. . .who wrote this flaming page in the history of the great Southwest."

Anthony Mann was a fascinating and talented director, his career in direction of films can be broken into three sections. The 40s where he progressed from "B" movies to film noir, the 50s where he can be credited as a main player in taking the Western to a new and more adult level, and finally the 60s where he would helm two enormous historical epics. In short he was versatile and one of the most significant American directors during that 30 year period. 1950 was a prolific year for him, a year that saw him direct four movies, three westerns and Side Street, a crime procedural with noirish leanings. Of the three Westerns, it's Winchester '73 that has the big reputation and the distinction of being the first of the five westerns made with James Stewart that are rightly held in high regard in Western movie circles. Yet the other two, seemingly under seen or forgotten about, are at least worthy of the same praise. With Devil's Doorway, in this writers' opinion, actually a better movie than Winchester '73.

The Furies serves as the perfect bridging movie between Mann's film noirs and his Westerns because it blends the two courtesy of the Western setting and the story, taking both and cloaking it neatly with noirish atmospherics. To which it is underpinned by two very strong and passionate father and daughter characters played by Huston and Stanwyck. She is wealth obsessed and single mindedly driven, yet still having shades of vulnerability, whilst he is a crude land and cattle baron who has a kink for Napoleon! It's their relationship, as murky and stand offish as it is, that is at the core of The Furies. However, there are a number of plot off shoots also dwelling in the narrative, making this a complex story, one that pulses with psychological smarts and psycho-sexual undercurrents, with part of the latter appearing to be an incestuous arc between father and daughter. While it's not a Western for those after the more "traditional" gun play trappings of the genre, it does have some smart set pieces and moments of adrenaline raising. Including a shocking scene that wouldn't be out of place in a Hitchcock thriller. But ultimately this above all else is about the story and the flawed characters within.

This was to be Huston's last film appearance, he would sadly pass away shortly after filming of The Furies had wrapped. Nice to report that he signed off from the mortal coil with a top performance, attacking the role of T. C. Jeffords with gusto and relish - with the ending of the film proving to be rather poignant. Stanwyck is excellent as Vance Jeffords, an actress capable of putting many layers to any character she was asked to play, here she two folds it by being utterly unlikable with ease, yet in a blink of an eye garnering our sympathy by way of child like vulnerability. In support Corey is fine as card sharp Rip Darrow, the man who Vance deeply courts, and someone who has a serious agenda with T. C. Jeffords. Yet it's Judith Anderson who takes the acting honours in the support ranks. Charged with the task of playing a character who threatens to take Vance's place in her fathers world, Anderson nicely combines subtle underplaying with emotive driven thesping. With Mann going for heavy atmosphere, Milner's photography is deep in focus and suitably evocative, and Waxman provides a robust - storm-a-brewing, musical score.

Prime Mann offering that's deserving of more exposure and more appreciative praise. 8.5/10

This thing is a wild ride - it really crackles with energy! Plus its one of those rare films where the actors chew up the scenery and spit it back out, and its expertly done, absolutely right, and works beautifully. Also its a film made by adults, for adults, starring adults; all the leads are in their late 30s and up. It is very stylized and the black-and-white cinematography was nominated for an Academy Award. So many scenes stand out, but the whole section involving the "battle" with the Herrera family is particularly vivid. Gilbert Roland registers surprisingly well also, the role was perfect for him at that age. The Herrera mother nursing her hatred is wonderful. Its possibly the peak of Stanwyck's career; I'd argue that she was never able to make as good a film again. I would pay 100 TCs to see it another time!

There's a lot of Freudian subtext in this unusual 1950 Western, but what resonates most is how director Anthony Mann so smoothly transcends the testosterone-driven genre to come up with an entertaining hybrid of a woman's picture and a Greek tragedy. At the dynamic core of this film is the masterstroke of casting Walter Huston (in his last screen role) and Barbara Stanwyck as a spendthrift father and his headstrong daughter at odds over running the expansive ranch that gives the movie its name. In Roman mythology, the Furies were supernatural personifications of the anger of the dead. As females, they represent regeneration and the potency of creation, which both consumes and empowers. It is this single-minded sense of empowerment that drives Vance Jeffords to usurp her wily father T.C. while seeking his approval at the same time.

Set in 1870's New Mexico, the story written by Charles Schnee ("The Bad and the Beautiful") is steeped in not-so-indiscreet psychological baggage. T.C. lives by his own rules by borrowing liberally from banks, paying hired hands with his own script, and allowing Mexican settlers to live off his land. Unlike her weak-willed brother, Vance enjoys provoking her father but to what end is never clear as an unacknowledged cloud of incest hangs over their strange relationship. At the same time, T.C. has a sworn enemy in gambler Rip Darrow who is looking to avenge his father's death at T.C.'s hands. Vance falls for Darrow, but she's also drawn to Juan Herrera, a childhood friend and one of the Mexicans now considered squatters. Complicating matters even more is the arrival of T.C.'s pretentious fiancée Flo Burnett, a devious socialite out to rid the ranch of the Mexicans and push Vance aside as the female head of the beleaguered family. This ploy leads to a most shocking scene that fits well within the story's noirish shadings.

As T.C., Huston gives a grand performance evoking both as the old prospector in his son John's "The Treasure of Sierra Madre" and the conflicted industrialist in William Wyler's "Dodsworth". Although a bit old for her role at 43, Stanwyck combines her no-nonsense manner with a childlike vulnerability in illuminating Vance's most complex psyche. This is excellent work from an actress who always seemed home on the range. Generally a pliable third lead in films ("Rear Window"), Wendell Corey doesn't lend charisma or a convincing edge to his swagger as Darrow, but Gilbert Roland shines in the smallish role of Juan and strikes sparks with Stanwyck that should have happened with Corey. However, it is Judith Anderson (Mrs. Danvers in "Rebecca") who steals her brief scenes as Flo bringing out a palpable tension with Stanwyck in their almost-comically cutting scenes together (pardon the pun!). Veteran character actress Beulah Bondi also has a nice near-cameo as a banker's wife fully aware of her husband's prideful shortcomings.

The intensely passionate movie swirls in all its psycho-sexual emotionalism and Shakespearean-level acts of murder, revenge and greed, but oddly (and perhaps due to the edicts of studio censors), Mann applies the brakes in the disappointing final portion of the film. Still, it's well worth viewing in the new Criterion Collection's 2008 release chock-full of extras. First, there is the meticulously academic commentary track by Western author Jim Kitses ("Horizons West"). Then there is an interesting 17-minute interview with Mann ("Actions Speak Louder Than Words") conducted just prior to his death in 1967. Another interview is offered with Mann's daughter Nina specifically for this release as she recalls her father's often underrated body of work. More of a curio is a silly, obviously scripted 1931 interview with Huston where he evasively responds to the vacuous questions of a pretty reporter. The original theatrical trailer and a stills gallery round out the extras.

This Antony Mann Western is little-known compared to his collaborations with James Stewart or Man of the West or a good number of other Mann films, but it's an equal to his best work. Barbara Stanwyck and Walter Huston (in his final performance) star as a daughter and her father, powerful ranchers who own the titular land. Their relationship, much as the title suggests, has a psycho-sexual tinge. When men call on Stanwyck, her father balks. And when hoochies cling to Huston, well, then things get real ugly! The Furies shows Mann bringing a lot of his noir skills to the Western genre. One can easily see how that genre influenced Mann's characterizations, but, in terms of film-making, he had largely moved on. The Furies is just dark and often nasty. I have to wonder why the film is so little known. My thought is that almost all Westerns feature male protagonists, with the most notably exception being Johnny Guitar. I'm not going to rag too much on that film, because I do like it, but The Furies is far superior. Stanwyck was rarely better. I might actually rate this as her best. Huston went out on one of his best performances. It's hard to believe he died before the film was even released with as much energy as he shows. My only real complaint with the movie is that it peaks too early. The standoff at the Herrera's fort is one of the greatest sequences in the history of the genre, and it's so good that the remainder of the film drags a bit. Still, a masterpiece. Thanks again, Criterion!

In his final film, Huston plays a larger than life character who owns a big ranch that he is struggling to maintain financially. Stanwyck is the head-strong daughter that he clashes with, particularly when Anderson enters the picture as his fiancé. One can imagine her character later became Victoria Barkley in "The Big Valley." Mann specialized in Westerns and he does well enough here, but the problem is that the script is not very interesting. Huston and Stanwyck are always worth watching, but Corey seems to be miscast as the romantic lead. Waxman, who won the Oscar for "Sunset Blvd." the same year, provides a lively score. Interestingly, both Mann and Waxman lived from 1906 to 1967.